Author: thehorsesheadblog

#285) The Sinking of the Lusitania (1918)

Directed & Written by Winsor McCay

Class of 2017

But first – an Oversimplified History Lesson: World War I had been going on for less than a year in Europe when Germany announced that their U-boat invasion of Allied vessels would now include passenger ships. On May 7^th 1915, a German U-boat fired a torpedo at the ocean liner RMS Lusitania, a British ship returning from a trip to New York City. The ship sank off the coast of Ireland, with 1198 killed, including 128 Americans. Although it would be another 2 ½ years before America officially entered the war, this event did start to turn public opinion away from neutrality. Among those opposed to American involvement was newspaper magnate William Randolph Hearst, who forced his newspapers to downplay the sinking and to create anti-war editorial cartoons. This did not sit well with one of his cartoonists, Winsor McCay, who spent two years of his own time and money to make “The Sinking of the Lusitania”.

The Plot: After a brief prologue highlighting the manpower required by Winsor McCay to make this film (including 25,000 individual drawings), “The Sinking of the Lusitania” is an animated recreation of the tragic event. Through painstakingly detailed animation, and with no newsreel footage or photographs to use as reference, McCay and his team show the torpedoes hitting the Lusitania, the ensuing explosions, and the innocent passengers abandoning ship and drowning, all while reminding you that the Germans are the real enemy and that America must take action.

Why It Matters: The NFR chalks this film up to historical significance, calling it “a notable early example of animation being used for a purpose other than comedy.” The write-up also devotes space to a quote from film expert William K. Everson, who calls the film “a fascinating and seldom-repeated experiment.”

But Does It Really?: A historical yes. The animation has a very surreal quality that makes for a tantalizing viewing experience, and the historical significance helps push it over into the “preservation-worthy” category. Like a lot of people with multiple films on the Registry, “Sinking” isn’t the most essential Winsor McCay film, but it is a must-watch for anyone interested in his work.

Shout Outs: None, which is surprising considering how much Winsor McCay liked to toot his own horn. Perhaps he didn’t want his passion project to be associated with Gertie or Little Nemo.

Everybody Gets One: I’ll give a shoutout to August F. Beach. He was the first reporter at the actual sinking, and shared his recollections with McCay. If this film had any actual credits I’m sure he’d be listed as a “historical consultant” or something.

Wow, That’s Dated: The last intertitle refers to the “Hun”, the slang term for Germans used during the war. It’s a not-favorable comparison to Attila.

Other notes

• From what I can gather, “Sinking” premiered in the summer of 1918. The German armistice that ended the war was signed in November of that year, so this was one of the final bits of propaganda for the war effort.
• A “Moving Pen Picture”? Surely the word “animated” existed back then.
• McCay loves his stats. He is more than happy to tell you how much work he put into any of these shorts.
• This is the first of the McCay shorts to rely on a background layer with celluloid animation (cels) placed over. Prior to this, McCay had the background drawn with the main action for each individual frame. Cartoonist Earl Hurd created animation cels in 1914, and it quickly became the industry norm.
• Let the record show that although there were two explosions aboard the Lusitania, only one torpedo hit the ship. McCay added the second torpedo for this film. Historians still aren’t sure what exactly caused the second explosion.
• The short also features an “In Memoriam”-type section for notable figures that were lost on the Lusitania. Most notable among them, Broadway producer Charles Froham, whose last words were allegedly “Death is but a beautiful adventure of life”, a paraphrase of a line from one his biggest hits: a stage production of “Peter Pan”.

Legacy

• As you can imagine, Hearst was not happy that McCay was devoting more time to his animation than his newspaper cartoons, and shortly after the release of “Lusitania” forced McCay to give up animation. McCay relented, and a groundbreaking film career was over.

#284) A Walk in the Sun (1945)

OR “The Italian Job”

Directed by Lewis Milestone

Written by Robert Rossen. Based on the novel by Harry Brown.

Class of 2016

The Plot: “A Walk in the Sun” is a fictional account of the 36^th Infantry Division during the Allied Invasion of Italy in September 1943. With a sudden overturn in leadership, the platoon lands on a beach in Salerno with one objective: to capture a farmhouse taken over by Nazis. Among the men are de facto leader Sgt. Tyne (Dana Andrews), Sgt. Potter (Herbert Rudley), who is on the verge of a complete breakdown, seen-it-all Pvt. Archimbeau (Norman Lloyd), mid-west farmer Sgt. Ward (Lloyd Bridges), and a complex group of men who know that this “walk in the sun” will forever define their wartime experience.

Why It Matters: The NFR praises the “excellent” script, particularly its emphasis on character over action, thus separating it from other war movies of the era.

But Does It Really?: I…don’t know. The NFR make a good case, but I’m not sure about “A Walk in the Sun”. Like “Twelve O’Clock High”, this is one of the first war movies that emphasized character over action. Also like “Twelve O’Clock High”, this movie is a bit of a slog. There’s some lovely character work throughout, and this film’s non-propaganda stance on the war must have been revolutionary in 1945, but there have been so many war movies in the last 70 years that have eclipsed “A Walk in the Sun” on the character study front. I’m glad the film is being rediscovered, but is it really preservation worthy in the same class as “The Birds” or “Funny Girl”?

Everybody Gets One: The main one here is the film’s original producer Samuel Bronston who, due to financial issues, had to give up the film rights to “A Walk in the Sun” and hand them over to Lewis Milestone’s Superior Productions. But one lawsuit later, Bronston still managed to receive 21% of the film’s profits. Bronston was eventually taken down by three little words: Swiss bank account.

Wow, That’s Dated: Lots of ‘40s jargon in this one, and plenty of slurs against the “Eye-ties”.

Take a Shot: This is another movie I was not expecting to have a title song. Sung by opera bass-baritone Kenneth Spencer, the song “A Walk in the Sun” serves as a common thread throughout the film, commenting on these men and their actions.

Seriously, Oscars?: “A Walk in the Sun” was completed just before World War II ended, and was shelved until 1946. The film received zero Oscar nominations, probably due to its lack of a solid studio to campaign it, as well as competition from that other Dana Andrews introspective war movie: “The Best Years of Our Lives”.

Other notes

• Director Lewis Milestone is perhaps best remembered for his take on World War I: 1930’s “All Quiet on the Western Front”.
• This is one of the weirdest opening credits of any movie. That being said I’d like Burgess Meredith to narrate my life.

• Lloyd Bridges! Looks like I picked the wrong week to quit making lazy “Airplane!” references.
• “A Walk in the Sun” was shot on location at the 20^th Century Fox Movie Ranch. You know it best from “Planet of the Apes” and the “M*A*S*H” TV series.
• I don’t trust a war movie where the soldiers don’t curse.
• As the platoon’s first aid man Pvt. McWilliams, this may be Sterling Holloway’s finest live-action performance. Or at least the one where he gets the most screen time.
• Shoutout to Norman Lloyd, character actor/director/living centenarian (He turns 104 this week!). It’s crazy to think that one of the actors in this movie is also in “Trainwreck” with Amy Schumer.
• Weirdly enough, this movie predicted smell-o-vision. And to an extent, AromaRound.
• Archimbeau predicts that in 1956 we’ll be fighting a war in Tibet. Off by a few years and 2400 miles.
• Never say “over my dead body” in a war movie.
• Oh those are some very obvious studio reshoots. It’s the only rear projection in a movie filmed entirely on location.
• During the climax, one of the soldiers exclaims, “Mary and Joseph!” You forgot one.

Legacy

• Nothing too much in terms of a legacy, but shortly after “A Walk in the Sun”, screenwriter Robert Rossen pivoted towards directing, helming future NFR entries “All the King’s Men” and “The Hustler”.

#283) Ghostbusters (1984)

OR “Zuul Me Once, Shame On You”

Directed by Ivan Reitman

Written by Dan Aykroyd and Harold Ramis

Class of 2015

The Plot: New York City is swarming with ghosts, and only disgraced scientists Peter Venkman, Raymond Stantz, & Egon Spengler (Bill Murray, Dan Aykroyd, & Harold Ramis, respectively) can stop them. After being evicted from Columbia University, the trio rent an abandoned firehouse and creates the “Ghostbusters” business. Peter tries to woo client Dana (Sigourney Weaver), who is at risk of being possessed by ancient demigod Zuul and signaling the end times (“Dogs and cats living together, MASS HYSTERIA!”). Joined later by the severely underwritten Winston Zeddemore (Ernie Hudson), this team ain’t afraid of no ghosts.

Why It Matters: The NFR calls the film “One of the most popular, quotable films from the past three decades” and praises Murray as well as the film’s “infectious insanity”. There’s also a reverential essay by filmmaker Adam Bertocci, whose webpage “Overthinking Ghostbusters” ultimately led to the film’s NFR inclusion. Truly, Adam is the change he wants to see in the world.

But Does It Really?: Readers, it’s time you learned the truth: I like but don’t love “Ghostbusters”. It’s funny – at times even hilarious – and I am 100% behind its NFR inclusion, but overall the movie just doesn’t click for me. Dan Aykroyd wrote an overcomplicated ghost movie that Harold Ramis had to drastically edit, and Bill Murray was given free rein to Bill Murray all over it. In fact, I’ll argue that the movie wouldn’t work without Murray as the audience surrogate. I can hear your cries of heresy already, so I’ll conclude by saying that “Ghostbusters” is a good movie and deserving of preservation, it’s just not a personal favorite. See, internet? Sometimes other people don’t like the same movies you do, and that’s okay.

Everybody Gets One: Dan Aykroyd, Rick Moranis, songwriter Ray Parker Jr., Casey (and Jean) Kasem, and #MyTwoCents author Larry King.

Wow, That’s Dated: The non-Elmer Bernstein parts of the soundtrack are very ‘80s. Plus, this is a movie that showed just how far visual effects could go without computers. Matte paintings, stop motion, this movie throws in everything.

Title Track: Four words: Who ya gonna call?

Seriously, Oscars?: Second only to “Beverly Hills Cop” at the box office, “Ghostbusters” was nominated for two Oscars. The film lost Special Effects to “Indiana Jones and the Temple of Doom”, and the title number lost Original Song to “I Just Called to Say I Love You” from…you can’t name the movie can you? I bet you didn’t even know it was from a movie.

Other notes

• This opening scene at the New York Public Library is a good reminder: Please support your local library. In this post-FilmStruck world I’m forced to live in, the DVD/Bluray selection of my library is indispensable.
• Is the title “Ghostbusters” or “Ghost Busters”? Am confused. But hey, at least they’re not tacking on “Answer the Call” after the fact.
• “Back off, man. I’m a scientist.” That line kills me every time.

• Dana and Louis reside at New York’s famous Matte Painting Towers.
• Dear Rick Moranis, I know you don’t like making movies anymore, but you are missed.
• Oh god, Venkman and Dana have one of those “He’s stalking me but we’ll still end up together” romances. Ugh.
• I appreciate that this film doesn’t fall into the “there’s no such thing as ghosts” cliché. While they may not believe in ghosts, most of their clientele admit that the apparitions are real.
• So there’s plenty of paranormal activity in New York, but the Ghostbusters are the only business in town? Surely rival ghost businesses would follow shortly. Why couldn’t “Ghostbusters II” have been about that?
• Shoutout to Annie Potts as receptionist Janine Melnitz. That may be the best line reading of “Whaddya want?” in any movie.

• Keep your hands where I can see them, Zuul! Don’t you be feeling up Sigourney Weaver!
• The scene where Dana levitates was an on-set practical effect that Ivan Reitman picked up from directing the Broadway musical “Merlin”. Some good came from that train wreck after all.
• William Atherton as Peck is the kind of movie douchebag that only existed in the ‘80s. He is perfection, much to that actor’s future detriment.
• That Zuul theme sounds like Elmer Bernstein is getting ready for “The Black Cauldron”.
• Everyone loves the Stay-Puft Marshmallow Man, but they couldn’t get an actual food mascot for this scene? Was the Pillsbury Doughboy too expensive?

• You know what? I would have given this movie the Special Effects Oscar. The effects never get in the way of the comedy, and they hold up surprisingly well. Hats off to Richard Edlund, John Bruno, Mark Vargo, Chuck Gaspar, and the whole effects team that Columbia didn’t credit to save money.
• Wow, this movie really doesn’t give a shit about Winston. His screentime was greatly reduced once Eddie Murphy turned the part down, and Ernie Hudson gets 8^th billing in the credits. 8^th! And he’s a Ghostbuster! That’s gotta hurt.
• I must confess that at the end of the day, bustin’ makes me feel good.

Legacy

• “Ghostbusters” was an instant hit in summer 1984, with merchandise sprouting up everywhere. The film’s classic status has only grown over the years, with hardcore fans dubbing themselves…“Ghostheads”. Side note: Like “-gate” in a scandal, not every fandom needs the suffix “-head”. It worked for The Grateful Dead because, you know, it rhymed.
• While the filmmakers initially refused to do a sequel, they eventually relented with 1989’s “Ghostbusters II”. It’s…the first movie again.

• A third movie has been stuck in Development Hell for almost 30 years. The plotline was eventually recycled into the “Ghosbusters” 2009 video game.

• There have been two animated series based on the movie. The immediate follow-up “The Real Ghostbusters” made a star out of Slimer, while “Extreme Ghostbusters” lasted three months in 1997.

• Not every movie on this list inspires an Improv Everywhere stunt. Just this and “The Deer Hunter”.

• “Who ya gonna call? Someone else.”

• Firehouse, Hook & Ladder Company 8 has become a popular destination for Ghostheads (still sounds weird). It was saved from closure in 2011, and is currently undergoing a two-year renovation.
• And last but not least, an all-female reboot in 2016 that DID. NOT. RUIN. ANYONE’S. CHILDHOOD. Get a life, you damn misogynists!

Further Viewing: Another premake! This one takes its cue from the countless, largely forgotten ghost comedies that preceded “Ghostbusters”.

#282) Felicia (1965)

Directed by Bob Dickson, Alan Gorg, Trevor Greenwood

Class of 2014

In 1965, UCLA students Bob Dickson, Alan Gorg, and Trevor Greenwood were all active in the civil rights movements of the time; Gorg in particular was a member of the Congress of Racial Equality (CORE). It was through CORE that he met a teacher at Jordan High School who introduced him to Felicia Bragg, a 15-year-old student living with her mother and her siblings in Los Angeles’ Watts neighborhood. In an attempt to show white audiences that African-Americans were not the stereotypes they had been portrayed as in film and TV, the three filmmakers chose Felicia as their subject for a documentary.

“Felicia” is a short chronicling an average day in Felicia’s life. She talks candidly about her family’s daily struggles, her experience at the predominantly African-American Jordan High, and her belief that Watts can only improve if people stay and “build it up”. Felicia herself is remarkably mature and composed for a teenager, with an optimistic outlook on her future that makes her wise beyond her years. This look at 1965 Watts had an unexpected layer added when the Watts riots occurred shortly after filming. It was the largest civil unrest in L.A. until the Rodney King verdict 25 years later, and “Felicia” is a reflective counterpoint to those events.

Over the last 50 years, “Felicia” has been shown in schools across the country not only as a time capsule of 1965 L.A., but also as a demonstration of effective documentary film making. For these reasons, “Felicia” is a welcome addition to the National Film Registry.

The NFR write-up for “Felicia” includes two essays: one by film professors Marsha Gordon and Allyson Nadia Field, and a recollection of the production by co-director Alan Gorg.

P.S.: To the best of my knowledge Felicia Bragg is still alive and living in Los Angeles. Does anyone know anything else about her? There’s very little information out there, though I suspect that if Ms. Bragg wanted to publicly talk about the film, she would have by now.

#281) Midnight (1939)

OR “Power of a Czerny”

Directed by Mitchell Leisen

Written by Charles Brackett and Billy Wilder. Based on a story by Edwin Justus Mayer and Franz Schulz.

Class of 2013

The Plot: Eve Peabody (Claudette Colbert), a showgirl from New York, ends up in Paris with only an evening gown and an empty purse. She becomes chummy with taxi driver Tibor Czerny (Don Ameche), and although there is a mutual attraction, Eve runs out on him. She ends up crashing a black tie affair, posing as “Baroness Czerny”. Only Georges Flammarion (John Barrymore) catches on, but is willing to keep Eve’s cover if she helps break up the affair between Georges’ wife Helene (Mary Astor) and the charming Jacques Picot (Francis Lederer). A weekend at the Flammarion estate goes well until Tibor shows up as “Baron” Czerny and all kinds of hilarity ensues.

Why It Matters: Both the NFR write-up and the expanded essay by film expert Kyle Westphal praise underrated director Mitchell Leisen, and, when they get around to it, mention the cast and screenplay.

But Does It Really?: Where has this movie been all my life? Buried under all the other great movies from 1939 is this charming, funny update of Cinderella. Colbert expertly leads a very fun cast, with Ameche and Barrymore in fine support. Yes, the unsung Leisen expertly navigates this ship, but it helps when you’ve got a well-structured Billy Wilder/Charles Brackett screenplay to work with. “Midnight” is tough to track down, but it is worth it if you love well-crafted farce.

Everybody Gets One: Alright, I’ll give the man his due. Though largely forgotten today, Mitchell Leisen rose to the rank of director after being a costumer and art director for the likes of Cecil B. DeMille. Leisen primarily succeeded helming light, pleasant-looking screwball comedies like “Midnight”. This is also the only NFR appearance for actor Monty Woolley, best known for his role as “The Man Who Came to Dinner”.

Wow, That’s Dated: Taxi drivers on every corner, that’s the big one. If this film was made today, Tibor would be a Lyft driver, and I don’t see them organizing anytime soon.

Take a Shot: Eve says the title once about an hour into the film, stating, “Every Cinderella has her midnight.”

Seriously, Oscars?: Oh, if only “Midnight” hadn’t been released in 1939, the undisputed “greatest year of movies”. Like its long-delayed NFR induction, there were just too many other films from that year worthy of recognition, and “Midnight” received zero Oscar nominations.

Other notes

• Claudette Colbert has a lovely handle on Wilder/Brackett dialogue. It usually comes off best when uttered by smart-alecky characters like Ameche’s, but Colbert elevates the material, which is hard to do with writing that’s already this solid.
• Don Ameche had to wait another 47 years before finally winning an Oscar for “Cocoon”. Isn’t that nuts?
• I love Claudette Colbert, but Eve is from the Bronx? Please. It may be the only aspect of the part that first choice Barbara Stanwyck could have improved upon.
• Almost didn’t recognize Hedda Hopper without one of her giant hats. Hedda had been a Hollywood actor for over 20 years by the time she appeared in “Midnight”. It was around the time of this film’s release that Hedda’s gossip column started to take off.
• I can’t tell if this movie is leisurely paced or if it just got much bigger laughs in the ‘30s.
• So John Barrymore is capable of giving a non-theatrical performance. The story goes that Barrymore was in decline from years of heavy drinking (he died three years after “Midnight”) and relied on cue cards for his lines. Any struggles Barrymore had off-camera are undetectable in the final film.
• How does anyone in France take the police seriously when they’re wearing those little capes?
• I’ll guess that no one suspected Eve was the imposter because Zoltan Karpathy had the night off.
• Not surprising for a Wilder/Brackett screenplay, there are a lot of gems in the dialogue. Two of my favorites: “My mother taught me a few things, too” and “Let’s wait for the cognac”.
• Eve has a pretty sweet set-up at the Ritz. It’s like “Home Alone 2”, except there’s no egomaniacal loser telling her where the lobby is.
• Only in a Wilder screenplay would a character be knowledgeable about the Hungarian subway system.
• Tibor got 1600 cab drivers to help him find one woman? Forget Missed Connections; French taxis are the way to go!
• Why is Mary Astor always involved in a love triangle in these movies?
• Shout out to Rex O’Malley as Marcel, Helene’s gay bestie.
• Coincidentally, “Midnight” was added to the NFR the same year as another modern take on Cinderella: “Ella Cinders”.
• The single funniest shot in the movie involves Tibor driving up to the Flammarion estate. “Park it!”
• One line with a whole different meaning nowadays: “You have such a gay wife.”
• And then Tibor and Eve embellish their charade by inventing a daughter named Francie. DON’T TALK ABOUT OUR CHILD, TIBOR!
• You may need a refresher course on French divorce proceedings of the ‘30s before watching this film’s third act.
• A society that approves of a husband spanking his wife with no hesitation; that’s why you’ve never seen this movie.

Legacy

• The production of “Midnight” made Billy Wilder seriously consider directing to ensure that his writing wasn’t touched. I believe the only actor from “Midnight” Wilder used in one of his films was Hedda Hopper in “Sunset Boulevard“.

• Leisen would go to direct another Wilder/Brackett screenplay: 1941’s “Hold Back the Dawn”. Wilder was a year away from directing his first Hollywood movie; I presume he took good notes during production of “Dawn”.

• Like “Ball of Fire”, “Midnight” was remade only a few years later with the same director. Mitchell Leisen helmed 1945’s “Masquerade in Mexico”, with Dorothy Lamour in the lead.

• Mitchell Leisen may have gotten the last laugh on Billy Wilder. Towards the end of his career Leisen directed a few episodes of “The Twilight Zone”, including obvious “Sunset Boulevard” knock-off “The Sixteen-Millimeter Shrine”.